The question surrounding her motives behind this statement makes sure the audience is listening before inserting the more serious statement of "it helps me to control the world". The dramatic lie allows space for the question of racial misconceptions. Why would a white woman "control the world"? What position does race play in this assertion? What are Lula's misconceptions about race relations? The space to ponder these deeper concepts is made possible by the dramatic insertion of Lula's lies. .
Other examples of attention being paid to the presence of drama are Lula's lies in the form of ridiculous assumptions. In a more obvious way, Lula brings light to the racial issues of the times with her disparaging remarks towards Clay. When Lula refers to Clay being frightened of other people on the train because he is an "escaped nigger", Lula is using an extremely derogatory form of name-calling. The audience is shocked into thinking about the basis of her statement and the possible societal misconceptions that influence it. Lula's ambivalence to the offense in her statements creates the space for the audience to question what Baraka meant when he stated that his characters were "the spirit of America itself". Does the ambivalence portrayed by Lula represent the greater American white society?.
The comments of Lula also bring to light the misconceptions surrounding African-American sexuality. Her overtly sexual character makes references to intercourse thoughout their dialogue, but also acts as though Clay would interact in a sexual display on the train, due to societies misconception of the sex drive of an African-American male to be uncontrollable. She makes quick transitions from an average speaking voice to a loud provocative dance and seems to go crazy with her ranting of sexual desire and inappropriate behavior of wanting to "rub bellies on the train". Her lewd commentary brings the question of sexuality to the forefront and gives the audience space to reflect on what race says about the sexual drive of a man.